• Journal of Distribution Science
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• v.10 no.8
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• pp.25-34
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• 2012

Understanding customer' lifestyles important for banks because it will guide in determining marketing policies, such as services, pricing, service delivery and promotion decisions. From the customer' lifestyle, banks will know what kind of customers' attitudes, interests and opinions, so they also will understand what the costumer' needs and what services needed by them. For Islamic banks, customers understanding are important because, nowadays, the competition of the banks is not only with other Islamic banks but also with the well-established conventional banks offering Islamic products or services The aims of this research paper are to describe what factors underline the customer's lifestyle of both Islamic and conventional bank, to segment the bank customers based on their lifestyles and investigate the profile of each segments, to compare the characteristics of the segments, and to identify marketing policies based on the characteristics. The population of the study is banking customers in Indonesia, in which the researchers have used judgment sampling as sample selection. There were 186 customers of Islamic banks and 244 customers of conventional bank as respondents in this study. Statistical methods employed were exploratory factor analysis and cluster analysis. The finding of the study shows that there are twelve factor underlining the customers' lifestyle, namely: factor of fashion conscious, internet usage, sports spectator, financial and technology optimism, price sensitivity, independent, compulsive housekeeper, new brand tryer community activities, opinion leader, credit usage, and homebody. In addition, for Islamic banking, there are two market segments, namely fashionable-independent and innovative-social segment. Based on the lifestyle characteristics, the first segment has higher level in factor of fashion conscious, homebody, independent, optimism and price conscious, which is therefore called fashionable-independent segment. On the other hand, the second cluster has higher level in factor of new brand tryer, community minded, sport spectator, credit user, internet usage, opinion leader, and compulsive housekeeper, which is therefore called the innovative-social segment. Furthermore, for conventional banking, there are also two segments, namely persuasive-optimistic and sensitive-independent segment. The first segment has higher level on some factors, namely: opinion leader, optimism, internet usage rate, credit usage level, sport spectator, and new brand tryer. On the other hand, the second cluster is characterized by higher level in factor of price conscious, confidence, community minded, homebody, fashion conscious, and compulsive housekeeper. Managerial implications for the management of Islamic banks could be identified in this study as follows. Firstly, the twelve lifestyle factors of this study could be an alternative view in observe Islamic banking customers. The domination of both the fashionable conscious and the internet usage factor show that the aspects are quite instrumental in perceiving the customer' lifestyles, in which reflects the importance of these two aspects to customers. Secondly, in serving their customers, Islamic banks need to understand the customer lifestyle, in which the lifestyle segments found in this study provide a guide of how their needs were reflected. Finally, by understanding the segments and the characteristics each segment of the conventional banks, Islamic banks could adjust their marketing strategies differently from the conventional banks.

• Fashion, Industry and Education
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• v.14 no.2
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• pp.11-23
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• 2016

This study investigated the comparative advantages of the Bangladeshi and Vietnamese apparel industries using Global Value Chain (GVC) framework. In this study, the GVC framework was expanded to include social and environmental sustainability issues. Secondary data, for the 2012 - 2013 period, were collected and analyzed for each component of the apparel GVC. The findings indicated that while both countries have unique comparative advantages, Vietnam clearly emerged as a leader on many GVC components. Bangladesh's comparative advantage lies in lower wages, producing high volume orders, and lean manufacturing. In spite of Vietnam's higher labor costs, it has comparative advantages in higher productivity, skilled and trained workers, manufacturing of intricate styles of high quality, agility and flexible manufacturing, more developed infrastructure and logistic services as well as greater social and environmental compliances. This study contributes towards insight into best sourcing fit for fashion brand business models. Based on the findings, fashion driven companies offering more complex styles at a faster rate will benefit from choosing Vietnam. In contrast, Bangladesh might be a better choice for high volume driven companies that offer basic apparel and better value for their consumers. From theoretical perspective, the research makes an important contribution by expanding the GVC framework.

• Asia Marketing Journal
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• v.15 no.1
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• pp.57-81
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• 2013

The purpose of this paper is to seek ways to improve the competitiveness of Korea's fashion industry by utilizing the source of competitiveness of Japan's fashion industry, which represents the world's leading countries in terms of fashion, so that Korea can better enter the global fashion market. The study shall first compare the competitiveness of the Japanese and Korean fashion industries by utilizing the generalized double diamond model; second, provide an understanding of what the Japanese fashion industry can offer to Korean fashion industry and companies - that is, understand what the Japanese fashion industry's competitive edge is; and third, study the kind of global competitiveness that Korea's fashion industry must achieve. To adopt a generalized double diamond model to compare the competitiveness of the Korean and Japanese fashion industries, we selected 31 sub-variables to act as determinants of the model. That is, we extracted 31sub-variables by doing research of literature to analyze national competitiveness of the fashion industries. To measure these 31 sub-variables, secondary data was gathered. We collected data related to each sub-variable from various sources of Korea and Japan. And to calculate the competitiveness index, we took three steps with reference to previous studies. We found that status of the fashion industry of the two countries as it stands. That is, Japan is an advanced country of which fashion industry is domestic market-oriented while Korea is a small open economy that mainly focuses on the foreign market. Out of 31 proxy variables, Korea's fashion industry shows higher measurements relating to production and export than Japan, but Japan's fashion industry reports higher measurements than Korea in the fields of R&D, design and brand power, the rate of value added, the efficiency of companies and globalization. In order for Korea's fashion industry to achieve competitiveness in the global market, it should pursue the following development direction. First, it is very difficult for Korea to follow the footsteps of the U.S. and Japanese fashion industries that are able to take advantage of economies of scale, because Korea is smaller than those countries. Therefore, in the case of small economies such as Singapore, strengthening of international activities will practically improve domestic determinants that Korea should improve its domestic diamond by enhancing the current competitiveness of its international diamond. In other words, Korea needs to further endeavor to develop and expand global resources and markets as well as improve its competitiveness in terms of R&D, design and brand power, the rate of value-added, and the efficiency of companies. As the Korean fashion industry shows relatively advanced level of information technology and the fashion education system, it has considerable potential to grow. Korea is expected to have a huge growth potential since it has relatively higher level of information technology, fashion education system and activities than those of Japan in both the domestic diamond and international diamond. In particular, a better environment is laid out before Korea to gain competitiveness in the fashion industry due to the recently growing influence of the Korean Wave that Korea is expected to grow as a leader in the Asian market as well as in the global market.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.289-321
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• 1996

After the two big wars (Imjin Woeran and Byungia Horan), the Lee Dynasty confronted rapid transitional periods in almost all aspects of the society. Corruption of the governmental system by the wars and disordered social structures also caused confusion in the social position system. In addition, development of the commercial economic system and monetary economy brought up a new rich middle-class, "Joong in Gyegeup". In ideological aspects, Confucianism indulged in and stick to isms and ics, and the Confucian morality slackened, thus a more pragmatic ideology, "Silhak Sasang", developed. And the emergence of the modern literature and art of the 'common people' was followed by the appearance of the common-people class including those having the common-people concept among the noble-class "Yangban Gyegeup". This evoked a new common costume culture and the fashion appeared. The public could no longer find the power and appeal from the preexisting ruling classes due to the changed role and sense of value. Thus, they sought a new symbolic leader group that would to be the new standard of the newly changed society. That was a group of people called as "Kisaeng" liberal and independent. They were performing social activities, enjoying poetry, music and dancing, and classy dressers, having physically attractive bodies. The erotic as well as luxurious mode proposed by them reflected the trend of that time. It concurred well with the concept and taste of the public, so it was accepted with a good response. That is, by following these leaders, the public achieved their identification and tried to share the prestige of the leaders. For this reason, the Kisaeng group attracted the public attention and led the taste of the public, thereby becoming the influential fashion leaders of that age.

• Journal of the Korean Society of Costume
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• v.32
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• pp.45-56
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• 1997

The purpose of this study was to investigate the relationship between Chanel design and her Costume jewelry in 1920's-1930's through documentary studies. According to the study the result was as follows: 1. Chanel's esthetic in the field of Fashion Design bore the double stamp of "elegance" and 'simplicity' 2. Chanel changed the concept of costume jewelry. Chanel's great innovation was that she let 'fake' jewels always keep the intrinsic value of 'real' ones. 3. The simplicity of her perfectly tailored suit was Paradoxically overwhelmed by a fan-tastic array of jewels. The relationhship be-tween Chanel design and her costume jewelry was not able to be seperated. Chanel was a fashion leader fifty years ago and the name "Chanel" will be at the forefornt of fashon fifty years from now. The image of quality will always remain the same in the futures.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.10
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• pp.284-295
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• 2019

Celebrities form a dominant culture of one era and are cultivating influence to lead new fashion. Domestic women celebrities attending Seoul Fashion Week build their image as a fashion leader by exposing their own fashion aesthetics to the public. This promotes PR and sales of the brand of fashion designers in the collection. This study considers the fashion trends of women celebrities by analyzing the fashion style of women celebrities in Seoul Collection over the recent five years. The results of this study on contents analysis are as follows. First, straight silhouettes, achromatic colors, and an absence of a pattern or decoration comprised a high proportion. Celebrities preferred a modern and minimal style. Second, they preferred a feminine style that shows traditional feminine beauty through slim and princess silhouettes, one-piece dress or skirts, soft materials, and decorations with ruffles. In addition, as a matching jacket on one-piece dresses also appeared, it showed that celebrities attempted to change the chic feminine style with masculine beauty. Third, boxy silhouettes, multi-color mixed with colorful colors, graphic or lettering patterns, glittering materials and lots of details comprised a high proportion. This means celebrities pursue a maximal style that reveals their strong presence as fashion leaders.

• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.5
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• pp.774-789
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• 1995

The purposes of this study was to demonstrate the influence of fashion life-style, self-image and situational factors on consumer's apparel store choice for satisfaction of varied needs and high efficiency of marketing activity. A questionnaire was developed to measure research subjects based on theoretical study empirically. The questionnaire was administered to 270 women aged between 20 and 30 in Seoul. The results analyzed by factor analysis, cluster analysis, x2-test and oneway-anova. The results of empirical studies were summarized as follows: 1. Segmented groups of fashion life-style were classified practical/planning group, fashion- leader group, and shopping-oriented group. And store types which were prefered by those groups were department store/shopping center. 2. Segmented groups of self-image were classified actual-seeking group, modernity group and confidence group. And store types which were prefered by those groups were department store/shopping center. The Forecast of store choice on the base of self.image was showed that customers choose the store incongruous with self-image. But when it was analyzed each actual store choice. The Choice of high frequancy was congruous with self-image except for a specialty store/brand named outlet. 3. The significant differences could be found in choice of the store under particular purchase situations and especially at department stores and specialty store, their preference tended to be stronger as the degree of the store's involvement was hightened, but in the case of the generalization stores and the permanent discount stores, even though the degree of that involvement was low, their preference showed the same tendency.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.170-183
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• 2008

The purpose of this study is to analyze the characteristics of different images of movie costume centering on the actresses. The perfect examples are the characters from the movie "The Devil Wears Prada", in which the film is about the fashion leaders of the world. This study consists of visual data as well as images including some scenes from the movie. The sources were collected from relative media, articles in journals, internet sites relating to the movies and photos and we have analyzed differentiated each of the character's wardrobes and its characteristics appearing in each image. The result of this study is as follows. First, the characteristic image of Andy, the main character (Anne Hathaway) in the movie changed dramatically. Andy'swardrobe is focused on the character's makeover in the movie as the character changes from a slob dresser to an assistant of the editor-in-chief of the number one fashion magazine in the world. Each scene definitely shows different styles of the latest premier designers' clothes and accessories. On the other hand, Miranda Priestly appears as the fashion leader and icon throughout the whole movie. Her career look in each scene was very chic and sophisticated in the office while her party dresses were sexy and glamorous in the movie where she was at many of the promotion parties and events. The second analysis of characteristic images of movie costumes is comparing the styles of Andy, Miranda and Emily(the other assistant of Miranda). Andy's wardrobe was divided Into two situations-before working for the magazine and while working for Miranda. As Andy's wardrobe began to upscale, the clothing images of Emily and Miranda became less fashionable. As a result of this study, the movie costumes played a vital role in expressing the changes and differentiating each character's images.

• Journal of the Korean Society of Costume
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• v.37
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• pp.133-148
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• 1998

This study presents the aspects and changing process of the habiliment from the National Liberation up to now by analyzing the articles of costume found in$\ulcorner$Maeil Shinmun$\lrcorner$from Jan. 1. 1946 to Dec. 31. 1996. In the period of 1946~1959, the political and economic conditions through the National Liberation and Korean war deteriorated and the interest in costumes were weakened. But the economic recovery and social stability in the middle of the 50's made the lost interest in costumes increase. From 1960 to 1969, the high economic growth was achieved by“Five year plans for Economic Development”and the progress of mass media, transportation, communication and education brought western culture to our society. It spread rapidly and changed the way of life and the sence of value. These phenomenon led to a great transition on the Korean costume culture in the 60's In 1970~1979, the articless of costume made a change from the 60's, which focused on women's wear, and tuned to one including general costumes not only women's wear but also men's wear due to the women's social roles, the unisexmode and diverse costume. In 1980~1989, the growth of the consumption, the banning of the school uniform, Asian Games(1986) and Olympic games(1988) caused the high qualification, personalization and diversification in the fashion industry. Further more, the traditional-oriented trend with korean culture was emphasized. It pursued the modernization of the traditional Korean Costume, Hanbok, to introduce the unique Korean Beauty. From 1990 to 1996, in the era of international-ization and open door policy, the competition of nations became intense and the comprehention about environmental destruction highlingted the concerns on ecology. The recognition of environmental protection and recycling were reflected in the fashion. It prevailed that the pursuit of personalization,. diverse style, practicality and the fashion leader called generation appeared.